The "sliver and surfeit" dialectic is that between fragment and totality. In practice, the first part of the concert includes works by different composers. They are pieces, taken individually, rather short, but on the whole they form a very cohesive sonic whole. Moreover, they are fragmentary music even in themselves, often containing fragments of "other music" or expressive gestures that come from tradition. A composer like the Ukrainian Valentin Silvestrov is strongly schumannian, while for example David Chaillou has a very seductive language (in which Debussy certainly resonates) but also very experimental. These "the slivers”.
As for the whole (the Surfeit) it is represented by the second part entirely dedicated to Philip Glass. He is the progenitor of a music writing from which the other composers derive, his style and his poetics are now widely consolidated realities and constitute a unitary work where, I believe, the whole history of music is reflected.
The subtitle, on the other hand, highlights my ideal intention. In other words, that of "liberating" or "emancipating" the music from sound, and suggesting that it is actually a "territory". In other words, music is not just something to listen to, but a real PLACE to live in. A physical reality in which to feel enveloped, and also a landscape (an inner landscape) to contemplate, in recollection with oneself.
These are the guiding ideas. The music will give body to them.